In association football, kit is the standard equipment and attire worn by players. The sport's Laws of the Game specify the minimum kit which a player must use, prohibit the use of anything, dangerous to either the player or another participant. Individual competitions may stipulate further restrictions, such as regulating the size of logos displayed on shirts and stating that, in the event of a match between teams with identical or similar colours, the away team must change to different coloured attire. Footballers wear identifying numbers on the backs of their shirts. A team of players wore numbers from 1 to 11, corresponding to their playing positions, but at the professional level this has been superseded by squad numbering, whereby each player in a squad is allocated a fixed number for the duration of a season. Professional clubs usually display players' surnames or nicknames on their shirts, above their squad numbers. Football kit has evolved since the early days of the sport when players wore thick cotton shirts and heavy rigid leather boots.
In the twentieth century, boots became lighter and softer, shorts were worn at a shorter length, advances in clothing manufacture and printing allowed shirts to be made in lighter synthetic fibres with colourful and complex designs. With the rise of advertising in the 20th century, sponsors' logos began to appear on shirts, replica strips were made available for fans to purchase, generating significant amounts of revenue for clubs; the Laws of the Game set out the basic equipment which must be worn by all players in Law 4: The Players' Equipment. Five separate items are specified: shirt, socks and shin pads. Goalkeepers are allowed to wear tracksuit bottoms instead of shorts. While most players wear studded football boots, the Laws do not specify. Shirts must have sleeves, goalkeepers must wear shirts which are distinguishable from all other players and the match officials. Thermal undershorts must be the same colour as the shorts themselves. Shin pads must be covered by the stockings, be made of rubber, plastic or a similar material, "provide a reasonable degree of protection".
The only other restriction on equipment defined in the Laws of the Game is the requirement that a player "must not use equipment or wear anything, dangerous to himself or another player". It is normal for individual competitions to specify that all outfield players on a team must wear the same colours, though the Law states only "The two teams must wear colours that distinguish them from each other and the referee and the assistant referees". In the event of a match between teams who would wear identical or similar colours the away team must change to a different colour; because of this requirement a team's second-choice is referred to as its "away kit" or "away colours", although it is not unknown at international level, for teams to opt to wear their away colours when not required to by a clash of colours, or to wear them at home. The England national team sometimes plays in red shirts when it is not required, as this was the strip worn when the team won the 1966 FIFA World Cup. In some cases both teams have been forced to wear their second choice away kits.
Many professional clubs have a "third kit", ostensibly to be used if both their first-choice and away colours are deemed too similar to those of an opponent. Most professional clubs have retained the same basic colour scheme for several decades, the colours themselves form an integral part of a club's culture. Teams representing countries in international competition wear national colours in common with other sporting teams of the same nation; these are based on the colours of the country's national flag, although there are exceptions—the Italian national team, for example, wear blue as it was the colour of the House of Savoy, the Australian team like most Australian sporting teams wear the Australian National Colours of green and gold, neither of which appear on the flag, the Dutch national team wear orange, the colour of the Dutch Royal House. Shirts are made of a polyester mesh, which does not trap the sweat and body heat in the same way as a shirt made of a natural fibre. Most professional clubs have sponsors' logos on the front of their shirts, which can generate significant levels of income, some offer sponsors the chance to place their logos on the back of their shirts.
Depending on local rules, there may be restrictions on how large these logos may be or on what logos may be displayed. Competitions such as the Premier League may require players to wear patches on their sleeves depicting the logo of the competition. A player's number is printed on the back of the shirt, although international teams also place numbers on the front, professional teams print a player's surname above their number; the captain of each team is required to wear an elasticated armband around the left sleeve to identify them as the captain to the referee and supporters. Most current players wear specialist football boots, which can be made either of
Panfilo Nuvolone was an Italian painter of the Mannerist period, who painted both religious and still life topics, active in Cremona and Mantua. Born to a Mantuan gentleman, he was the father of a family of Cremonese painters. In that town, he apprenticed with Giovanni Battista Trotti. Afterwards he moved to Milan, where fresco church ceilings, painted altarpieces and still lifes. One of his few documented still lifes depict a bowl of peaches, recalls the near-contemporary paintings of fruit bowls in Milan, including the 1594-98 painting in the Ambrosiana by Caravaggio and themed paintings by Fede Galizia, his son, Carlo Francesco Nuvolone a prominent in painter in Lombardy. Panfilo's younger son Giuseppe Nuvolone a painter. Giuseppe's son Carlo was a mediocre quadratura specialist active around Cremona. Coddè, Segretario dell Belle Arti in Dottore Pasquale. Aumentate e scritte Dottore Fisico, Luigi Coddè. Memorie Biografiche, poste in forma di Dizionario die Pittori, Architetti, ed Incisori Mantovani.
Presso i Fratelli Negretti, Mantua. Pp. 120–123. Grove Encyclopedia entry ‘’Cain and Abel’’ Painters of reality: the legacy of Leonardo and Caravaggio in Lombardy, an exhibition catalog from The Metropolitan Museum of Art, which contains material on Nuvolone
Peirce Seamount called Pierce Seamount, is a seamount located in the Pacific Ocean west of the Queen Charlotte Islands, British Columbia, Canada. It lies between Denson Seamount and Hodgkins Seamount and is member of the Kodiak-Bowie Seamount chain, a chain of seamounts in southeastern Gulf of Alaska stretching from the Aleutian Trench in the north to Bowie Seamount in the south. List of volcanoes in Canada Volcanism of Canada Volcanism of Western Canada British Columbia Marine Topography updated 1 April 2014. Seamount Catalog -- Peirce Seamount